This
groundbreaking book, written by one of the foremost blues
historians in the UK, is based on over 30 years
research, study and absolute passion for early blues music. It is the
first ever comprehensive study of the enormous impact of the railroads on 19th
and early 20th Century black American society and the many and varied references
to this new phenomenon in early blues lyrics.

Below
is a synopsis of the book giving you an insight into the wealth of detail. If
you're interested in getting a copy, then please check out
Music Mentor Books by clicking the link above.Chapter
1:
“SMOKESTACK IS BLACK AN’
THE BELL IT SHINE LIKE GOLD”
Brief background of
railroads in the antebellum era and slaves’ involvement — role of Pullman and
Red Cap porters — the Panama Limited — origins of ‘smokestack lightning’
and Charley Patton — ‘ticket as long as my right arm’, ‘ballin’ the jack’
— the ‘other’ Midnight Special — Texas & New Orleans RR and Lucille Bogan.

Chapter
2:
“SKIPPIN’ 'ROUND FROM LOG TO
LOG”Evolution of logging
camps in the South — origins of piano blues, boogie woogie and the barrelhouse —
oral transmission of early blues via logging roads — more on the T&NO.

Chapter
3:
“AH! WHEN I LEAVE FROM HERE, GONNA CATCH THAT M. & O.”
The story of the Mobile &
Ohio and the blues from 1852 to 1940; a ’journey’ from Mobile to St. Louis —
background of the floating bridge of Sleepy John Estes fame — Cairo, Ill. — the
real facts of Casey Jones’ train wreck in 1900 — river bottoms — the Union
Stockyard in Meridian, Miss. — oral transmission and (a) way freight trains on
the M&O, (b) stevedores at Mobile Bay.

Chapter
4:
“SHE’S GIVIN’ IT AWAY” Short history of the
refrigerator car or ‘reefer’ from 1858 to 1910 — introduction of the banana to
the ‘masses’ in the black community — fast freights: the ‘redball’ and the
‘hotshot’ — hoboing on a reefer with T-Bone Walker and David ‘Honeyboy’ Edwards
— sexual symbolism and street market blues — English music hall link with some
early vaudeville-blues singers.

Chapter
7:
“RUNNIN’ DOWN TO THE
STATION”Resumé of beginnings of
the Fast Mail in 1875 — importance to rural South — source of John Byrd’s
‘Billy Goat Blues’ in the 1850s — fast mail trains such as the Big 80 and
the Sunnyland — lineage of Robert Johnson’s ‘fastest train I see’
verse — streamline trains — blues singers’ knowledge of railroad operations —
the railroad depot: the seamier side and the ‘leaving scene’ in the blues, as
related by Robert Wilkins, Roosevelt Sykes, Ma Rainey and Robert Johnson.

Chapter
8:
“I CARRIED WATER FOR THE ELEPHANT”
Short history of
development of circus and carnival in the South — beginnings of medicine shows —
circuses in Natchez, Miss. during antebellum era and the early minstrel song,
‘Billy Barlow’ — excursion trains — blues singers’ role in circus and origin of
‘ballyhoo’ — circus and carnival slang used in the blues — role of steam
calliope — short survey of origin of ‘hokum’ and hokum blues — the railroad
crossing — vaudeville-blues singers and travelling shows including Clara Smith —
oral transmission process.

Chapter
10:
“LINED OUT SMOKIN', LOOK LIKE
IT TAKIN' TO SCAT”Short survey of early
tramps and hobos on the rails — women hobos and Memphis Minnie — Chicago, the
railroad hobo’s ‘Mecca’ — hobo jungles and ‘Hoovervilles’ — symbolism of the
railroad and ultimate freedom for the hobo — The Atlanta Special, Bukka
White and Blind Willie McTell — riding the blinds and riding the rods — railroad
police and Sleepy John Estes — origins of ‘hobo’.